FAQ

Super Drive/Super Club or Duel: Clean and Dirty Settings:
The dirty side (overdrive) of the Super and the Duel amps are the same……the clean channel of the Duel is a little cleaner than the Lo input of the Super amps and there is even an option on the Duel amps to have a 6 position “Bandwidth Control” which cleans up that channel even more by removing some of the low end of the tone…..it works very effectively.

The Duel series switching circuit was created by Dave Friedman to give those who wanted to foot switch between the Hi input and the Lo input an option.
With the Super series you have to physically pull the plug and put it in either the Hi or Lo input. With the Super and Duel series both the Hi and Lo input share the first input tube therefore, there is a substantial difference in input gain depending on the channel.
The Duel will not achieve Fender type cleans but they are not bad if you dial it in correctly.

The best way to achieve a balance between the Clean and Dirty sides is to set the Clean Gain first and then bring up the Dirty Gain to match the level to the Clean……switch back and forth and adjust to taste.
For a decent level setup try running the Gain on the Clean side at about 9 O’clock or 1/4 of the way up and run the Dirty Gain at about 3 O’clock or 3/4 of the way up. The knobs will be pointing in the exact opposite directions. After that try the Master at about 2 O’clock or more for best results however it is not too bad when you turn it down either.

The Naylor tone is tight, focused and controlled and that is in part due to the solid state rectifier which helps give you great punch and dynamic feel. We would not say that our amps have any sag to their feel or tone because usually a tube rectifier is required for that.

The playing dynamics are definitely there and very controllable with pick attack, guitar volume or a combination of both.

The Naylor overdrive is very smooth throughout its range in part due to the duel range gain control which works very well, there is a very good amount of punch to the gain when overdriven and there is stickiness to the distortion that is very desirable as well. There is a very good amount of midrange projection to the Naylor…..it does not get lost on stage….cuts thru very well.

Our overdrive covers a very large range including classic rock and beyond with no problem. We also offer options to increase the gain and even Hi Gain Models.

For the most part the preamp circuit is the same for the 38 and 60 watt amps in the Super series, so the main difference is that the 60 watt amps have more head room and a little more low end do to the extra power of the output. 60 watt and 100 watt:
The same as above except more head room and low end power on the 100 watt amps.

If you’re worried that a 60 or 100 watt amp is too much power you must take into consideration that the master volume on the Naylor’s is the best in the business…it simply works….great tone at all volume levels even very low bedroom levels….you do not have to crank it at all to get to any sweet spots as most all of the tone is developed in the preamp section of the amp so you’re not relying on the output to create it. Now if you do crank it all the way up then you can induce some output tube distortion but it is not the fundamental part of the Naylor tone.

The 38 compared to the 60:
With the 38 you will have a little less head room and low end push for the low notes. For the same volume level the 38 will break up a little earlier than the 60 watt…..does not stay as clean as long as the 60 when turning up the master volume.
Other than that the circuit is the same for both amps.
The same goes for the 100 watt amps…..more headroom and harder to break up the output until you crank it up quite a bit.

On the Electra-Verb series the presence control is replaced with the reverb control and the circuitry for the presence control is set at what would be about a half way point on the control knob.
The Electra-Verb amps have a little more gain on the Hi input of the amp than the Super or Duel series.
Other than those changes the two amps circuitry are very similar….no real big difference…..the output section is exactly the same.

As far as warranty service is concerned, there should be no problems due to the fact that the construction and build on the amps is top quality and built for life….but if there were to be something that needs repair then that is very easy to as the layout of the amp is quite easy for a qualified amp Tech to work on.
If something were to happen during the warranty period then we would set up something for service here in the US and also for our international customers somehow.

The Naylor FX Loop is setup for rack equipment but it also works with lots of pedals just fine but some particular pedals do not like the 1 volt line level signal the loops send jack puts out, in that case the input of the pedal will sometimes clip and you end up with a little clipping distortion on the input of your pedal.
We also have an FX loop send level control option that can be added to the amp to bring down the send of the loop to prevent any clipping at the input of the pedal…..you would then use the pedals output level control to make up for any loss of signal back to the return of the amp. We have put this control on several amps and it works well if needed. The control has no effect on the tone of the amp….only volume as it is only adjusting the drive level of the FX loop.
We are trying to gather a list of known pedals that do have this problem….here is the list so far: Known Pedals That Don’t Like The Naylor FX Loop 1 Volt Line Level:
Boss:
DD3 Delay……….Clips the input.

Most amps carry a hi voltage charge in the electrolytic capacitors (usually the filter caps) even after they are turned off and unplugged form the AC power. The best way to drain off the cap charge in amps is to take about a 10K 2 watt resister and connect it to one end of a test lead and then ground the other end of the test lead to the amps chassis, then take the resistor end and touch it to the + positive side of all the electrolytic caps in the amp to drain off the charge. Leave the resistor on the cap for a good minuet or so to drain all the stored charge. (Don’t hold the resistor with your hand….mount it to a wooden stick like a chop stick first) A DC shock to yourself is bad especially at hi voltage….it feels like getting hit by a hammer!!! And can even kill you!!! So be very careful….we recommend a qualified amp Tech for this reason.
The Naylor amps are set up so that when the power switch is turned off the caps are drained off of their charge in about 2 minutes or so, so theoretically you should have no charge on them once the amp is off and unplugged but be safe and drain them off yourself so you will know for sure.

We do not have schematics available for the amps but we do have voltage charts that can help with servicing if needed…..here is the link for them:
http://www.naylorengineering.com/documents.htm

A – Density control:
In a sense is the reverse of the Presence control….it works on the power amp section and can boost the gain of the power amp in the low frequency’s…it is similar to a low EQ used to offset low-end frequency drop out……it works great for tuning your cabinet to the room you’re playing in. the effect is not huge but in addition to our bass control you don’t need much.

A – Full/Half Power Switch:
This option is only available on the 100 watt versions of the amps (at this time)….it drops two of the output tubes and cuts power and head room….there is very little effect on the tone other than lower head room which means a little earlier breakup than in 100 watt mode. The half power switch is really useful for times when you only have a lower power rated speaker or cabinet.
Yes the master volume on the Naylor’s is absolutely great so in the case of the 100, 60 or 38 watt amps you have that control and would not need a half power switch….just turn the volume down and the tone is still there……works very very good.

A – Hi Drive: This is a circuit adding another gain stage in front of the Hi input on all the Naylor amps……It can be made switchable either with a switch on the back of the chassis or out on a footswitch or both. When in the circuit it is controlled by the gain adjustment and not a separate control. When in the circuit it is adding a little extra compression and obviously distortion above the standard gain that the Naylor Hi input has which is plenty for most people unless you’re looking for some very heavy rock or metal tones.

A – FX Send and Return Level Control:
(Right now we only have the send level control available). It works great to prevent input clipping on any external pedal or other gear…..most good pedals don’t need the control but a few pedals here and there can’t really take the 1 volt line level that the FX loop puts out. The control has no effect on the tone of the amp….only volume as it only adjusting the drive level of the FX loop.

A – Pentode Triode switch:
In pentode mode: Not very linear, high output impedance, lots of gain, highest power/efficiency, easy to drive, lots of punch and presence.
In triode mode: Very linear, only about 1/3rd the power of pentode mode, lowest output impedance, not much gain, harder / hard to drive due to high input capacitance and low gain, warmer and darker sounding.
Triode strapped pentodes are somewhat easier to drive than pure triodes.

The SR# of your amp chassis or speaker cabinet varies from the different years of manufacturing. In the early years (1993 to 1999) the amp chassis and cabinet it came with share the same SR# so one SR# could be on the cabinet sticker of written on the amp chassis or both but it’s the same SR# for the two parts of the assembly.
Starting in the Year 2000 the amp chassis has one SR# and the cabinet has a different SR#, each one indicates the Month, Day and Year manufactured.
So with that in mind here is the SR# info.
From the year 1993 to about October 1996 these SR#’s do not indicate the date the amp was manufactured but more the number in line of the amp build so #0124 would be the 124th amp or cabinet built, #0444 would be the 444th amp or cabinet built.
The SR#’s from October 1996 to 1999 are very different and do not indicate anything at all just by looking at them as they are some sort of code that we do not know at this time but hope to find out…..Kyle Kurtz one of the former owners of the company has this info but we have not obtained it yet.
From the year 2000 to present is the manufactured date of the amp or cabinet so #032010 is March 20th 2010 or #111305 is November 13th 2005, very easy to know when the amp or cabinet was manufactured.
If two amps were manufactured on the same day then there is a letter attached to the end or the SR# to indicate that so for example on July 26th 2006 two amps were built they would have #072606A and #072606B and that goes for either amps or cabinets.
Our SR# database is a very good resource to help you figure out your year of manufacture as well as the original colors of the Tolex, Hardware (the metal cabinet corners and handle), Grill Cover and Trim Piping….Any options the amp may have, original point of sale, the history of the amp or cabinet and any other info we have at this time……The database is available under our Support section of the web site.
In order to keep the database up to date and add good information we would like to get any info available that anyone may have and is willing to share…..here is what we are looking for:
1 – Your full name and address.
2 – When, where and from who did you purchase the amp/cabinet…..(dates, places, city/state/Country)….(Dealer or Guitar Shop, Pawn Shop, Garage Sale and the like or eBay, The Gear Page, Reverb, or any other web sites).
3 – If you know any history of the amp such as previous owners and any of their info…..if not then maybe the owner you got the amp form can supply some info…..that would be great.
4 – Any Mods to the amp/cabinet or alterations at all.
5 – The color of the Tolex, Hardware (metal corners and handle), Grill Cloth and Trim Piping.
6 – Some good hi resolution pictures for the records (front, back and SR#).
7 – And most important is the SR# of the amp or cabinet or both if it has them. On the Support page for the SR# database there is a form you can fill out online and submit it to us so it’s very easy to get us the info. Of course you can also email the info to us as well.
If you ever decide to sell the Naylor then once the amp/cabinet sells we would like the new owners info if they are willing to give it…..you can have them contact us at our web site email or use the form on the SR# support page. This is an ongoing project.

The Naylor amps are capable of using several different tubes in the circuit which will change the tone depending on the tubes used.
If you have an amp from year 2009 to present then you can use several different types of 6L6 based tubes in the output section including the EL34 tubes and several different brands of 12AX7 type tubes in the preamp section……but if your amp was manufactured before 2009 then you will need to make a small mod to the output tube socket’s in order to accommodate the EL34 tubes.
The Naylor’s with or without the mod are capable of using 6L6 ,5881, KT66, KT77, KT88, 6550 but not EL34’s……they require the mod!!!
Of course with any change in tube you will need to set the bias correctly.
The Naylor amps were all designed around the Sovtek 5881 and 12AX7WB tubes so if you use those tubes you will get the true original Naylor tone.
Here is a good tube bias calculator to use if you decide to check out different tubes….just put in the plate voltage and the tube type and get the bias setting.
See Naylor Bias Calculator under our support section: http://www.naylorengineering.com/calculator/
On the Naylor bias setting resistor, you will double the required setting…….so if it’s 35mA per tube you will set the bias on the Naylor to read 70mA….(35 + 35 = 70 through the 1 Ohm bias setting resister).

As far as tone from the tubes….tube tone is subjective….what sounds bad to someone might sound great to another……it’s all in your hearing and the tone you’re looking for.
Try KT66’s in the Naylor for a bigger warmer sound.
When you need the punch and power go with the 5881’s.
There are many reviews on the different sounds of the different 5881’s out there We have tried a set of Phillips branded 6L6’s that are from 1955 and the amp seems to have a slightly smoother overdrive when cranked up so we assume that other NOS tubes will work just as well but we have not personally heard all of them…..(that would be an expensive move to get a bunch of NOS tubes now days)…..but you have to crank the master up to get the output tubes to sing because most all of the tone in the Naylor circuit is developed in the preamp so to get the output to distort you need to turn it up.
The master volume works very well on the Naylor’s and since the tone is developed in the preamp you get good tone at most all levels and don’t need to turn it up like some other amps….but if you do then you can get some output tube influence in the tone as well. It’s all up to your liking.
If you were to do the mod for EL34 tubes on an older Naylor’s form years 1993 to 2008 then you will get a slightly more Marshally tone in the output when turned up quite a bit.
All the preamp tubes that come in new Naylor’s from the factory (Unless the customer special ordered different tubes) are Sovtek 12AX7WB’s and the outputs are Sovtek 5881’s these are what the circuit was designed around…..but you can use many other preamp or output tubes to achieve different tones.
A good tube for the Reverb circuit is a 12AT7 which has a little less gain and so a little smother reverb.

The tube layout is….looking in the back of the amp from left to right.
As you may know the 12AX7 tubes have actually two tubes in one so to speak so with that in mind…….the first half of tube 1 is the first gain stage in the hi gain side…the second half is the second half of the hi gain side and the first stage in the lo gain side.
Both the first and second half of the second tube are the 3rd and 4th gain stages in the Hi side and the 2nd and 3rd stages in the Lo side.
The 3rd tube is the FX loop tube one half is the send and the other half is the return.
And finely the 4th tube is the Phase Inverter A.K.A. Driver tube to the output circuit.
Most of the tone and gain is developed in the preamp section of the Naylor amps but if you have a very hot or hi gain tube in the PI / Driver location then that will push the output circuit quite a bit harder and get you more distortion or heavier tone.
If you have an Electra-Verb amp then the tube lay out is:
The first half of tube 1 is the first gain stage in the Hi gain side…the second half is the second half of the Hi gain side and the first stage in the lo gain side.
Both the first and second half of the second tube are the 3rd and 4th gain stages in the Hi side and the 2nd and 3rd stages in the Lo side.
The 3rd tube is the Reverb Driver tube one half is the send and the other half is the return. The 4th tube is the FX Loop tube one half is the send and the other half is the return.
And finely the 5th tube is the PI / Driver to the output circuit.
With the EL34’s you can definitely get a little more Marshal type tone to the amp but it can be a little harsher and brighter in the top end but that can work well if you’re looking for that tone. The Naylor circuit was designed around the Sovtek 5881 (6N3CE from Xpo-pul / formally Reflektor Tube Factory Saratov, Russia) and 12AX7WB tubes at the time due to tube reliability and availability, (this was 1993) over the years some amps went out the door with different tubes in the amp more likely due to pricing of the tubes…..We’re fairly sure that some Detroit manufactured amps went out the door with Ruby tubes in them. In those days they were rebranded Sovtek tubes.

The Reflektor factory was built in 1953 to produce vacuum tubes for military and civilian use, including in radios and televisions. With few factories still producing vacuum tubes in the 1980’s, Mike Matthews (New Sensor Corporation / Electro Harmonix) began importing Reflektor tubes in 1988, and he bought the plant for $500,000 a decade later.

Here is some other tube info for you.
Find tube reviews and lots of other tube info here:
http://www.thetubestore.com

Find tube specification’s here:
http://www.audiomatica.com/tubes
The tube reviews above have a lot of info on the various tubes…..different brand tubes definitely sound different in the same amp so you could go crazy trying them all out…..one good thing to do would be to try tubes form a friends amp, that way you can check the tone without having to buy the set of tubes and then go for a new set if you like the results.

In a word, yes. Substantially different? Probably not. But there is the possibility of a subtle difference.
The physical differences between an 8-ohm and a 16-ohm speaker of the same type generally come down to voice-coil wire size and the number of voice-coil wire turns in the magnetic gap. When a speaker is manufactured, different wire is used for winding the voice coil based on the desired speaker impedance. The wire used to wind an 8-ohm voice coil will be of a particular size and will be applied with a particular number of turns. The coil, once wound with this wire, will have a certain diameter and weight. This wound coil will then not only determine the impedance of the speaker, but will also be somewhat of a determining factor in the SPL (sensitivity) and frequency response of the speaker. If the same voice coil was wound to be 16 ohms, a smaller, lighter wire would be used and the number of turns would be increased to achieve the desired impedance. This will change the physical characteristics of the wound coil, which may slightly affect the sensitivity and frequency response of the speaker. A higher number of turns in the 16-ohm coil may slightly increase the response of the speaker at higher frequencies due to an increase in inductance. This potential change, however, may be offset to some degree by the possible increased weight of the 16-ohm coil due to the increased number of windings. We’re talking total weights in grams here, but every little difference has the ability to affect some type of change. This may be a lot of information to process, but the bottom line is that two of the same speakers have the potential to be slightly different in tone and response, but probably not to any substantial degree. Generally, any perceived difference might be that the 16-ohm speaker could be a bit brighter.

The All-Tone speakers are different speakers than the Naylor speakers.
The Naylor SD50 speaker is the first speaker Joe Naylor designed back in 1993 and is what started Naylor Engineering, this speaker is a great replacement for Jenson speakers in Fender and other amps and has a great 60’s vibe and tone to it……the midrange compression is fantastic with an earlier breakup and overall smooth tone…..no ice pick in the ear with this speaker.
The reverend 12″ All-Tone is similar to the Naylor SD50 12″ but not the exact same speaker…..We have never owned or auditioned any of them so we cannot personally comment on their tone except what we have read in user reviews and such, but being that it was also designed by Joe it is probably a good speaker as well. The All-Tone was designed sometime in the 2000’s but I’m not sure just the year…..The Naylor SD50 was the first design (The Original) back in 1993.
Joe Naylor is no longer involved with the All-Tone speakers….the Company was sold some time ago and a different manufacture is building them now.
I do not know the exact differences between the Naylor SD50 and the All-Tone but the Naylor is a vintage Jenson styled frame and cone and the All-Tone was a Jenson styled frame but a British styled cone.
The Naylor speakers are in full production and we have all models in stock and ready to ship out……..you can order the Naylor’s on our web site here:
http://www.naylorengineering.com/speakers.htm